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artists, especially the bestselling and the famous, can
claim a generosity of spirit that is the hallmark of
true classics. Painter Romulo “Ola” Olazo, at 74, is
among these rare artists who believe that magnanimity is
inherent in mastery—that teachers such as himself, for
example, must keep on learning with his students and
younger artists to nurture a virtuous artistic cycle.
Today,
in the runup to a nearly 40-year career highlighted by
several distinctions and as many exhibits here and
abroad, Ola showcases his renowned Diaphanous
series in an exhibit at the Artist Space of the Ayala
Musem in Greenbelt, Makati, ongoing until August 25,
titled Azool, which is both indicative of the
works’ dominant theme (blue) and an anagram of Ola’s
surname.
Such
playfulness is characteristic of Ola, who was born in
Balayan, Batangas, in 1934, and a product of the
fine-arts program of the University of Santo Tomas in
the 1950s—a critical juncture when the foundations of
modernism were being laid by key figures such as Vicente
Manansala, Victorio Edades and HR Ocampo. First making a
name as a remarkably innovative printmaker, his take on
the medium would later feed the development of his two
immensely successful series of paintings—Permutation
and Diaphanous.
Critics
have waxed lyrical in describing Ola’s Diaphanous
series, begun in the 1970s, an exceptional body of
abstract paintings “that are veritable visions of
light.” Viewers have likened them to “dragonfly wings,
sheets of gossamer veil or gauze, and even a symphony.”
Meticulous studies of form, line and layering, Ola’s
abstractions are richly rewarding for those who take
time to unravel the play of transparency and opacity.
This
extremely evocative quality of the Diaphanous
series was precisely what drew Paseo Gallery owner John
Valenzuela to Ola’s works. Valenzuela first encountered
these at an exhibit in 2004 and it was love at first
sight. In awe of the artist, it would take Valenzuela
three years to summon the courage to visit Ola at his
home and studio in Cubao; shortly after, in 2007,
Valenzuela was a new proud owner of an Olazo
Diaphanous.
“I
really appreciate great abstract works,” says
Valenzuela, who has been quietly and efficiently running
the Paseo Gallery in his condominium of the same name (Paseo
Center) since 2004. “For me, it’s less about how it
looks than how it was done—the emotion and passion
behind the work. I like seeing its beauty in shapes and
curves, and in other such elements particular to the
artist.”
From
that time on, Valenzuela had his mind set on having Ola
exhibit his Diaphanous series at his gallery.
Providentially, the Olazos were planning for a
retrospective exhibit in 2009, and in February 2008 had
applied for a slot at the Ayala Museum in hopes that
there would be a window in 2008 for a solo exhibit in
the runup to the retro. As luck would have it,
Valenzuela was awarded a gallery space at the Artist
Space in the Ayala Musem in February 2008, which would
be the new home of Paseo Gallery. After renovating the
space, Valenzuela invited Ola to inaugurate the new
Paseo with a solo exhibit in July—it was decided that
Azool, it would be, showcasing seven medium-sized
paintings—but Ayala Museum had already awarded the
Olazos a slot as Director’s Choice for the August 2008
show, as well as one for the 2009 retro.
The
Olazos now faced daunting logistical considerations for
practically two solo exhibits running almost
simultaneously. Ola’s wife Pat, who is well known as the
artist’s indefatigable manager, recalls that Valenzuela
realized their dilemma, and quickly “agreed to help us
out and offered to forgo the inaugural exhibit at
Glorietta, and instead focus on and work closely with us
for the exhibit at the Ayala Musem, while still
retaining the blue theme!”
Thus
began what Pat describes as “a new partnership and
friendship,” several of which were doubtless forged in
Ola’s long and distinguished career.
Ola has
always been mindful of these blessings. Not one to wear
the airs of a master, he had always made it a point to
attend exhibit openings of new artists until health
reasons kept him from keeping as many dates as
faithfully a few years ago. He continues to keep a fresh
approach to his art and craft by observing the works of
his contemporaries, as well as those of younger talents.
He remains highly supportive of his friends and
students, never stingy with praise or with suggestions.
Awards
and honors have had little effect on him as well. Among
others, he was a recipient of the much-coveted 13
Artists Award by the Cultural Center of the Philippines
in 1972, and he was also recently included in the book
13 Painters for the 21st Century. But to those who know
him, and as even strangers would discover, Ola has
remained the humble, earthy and soft-spoken man he has
always been. Pat says, “Anyone can approach him anytime
for a chat, an autograph, and even for a picture.”
Indeed
it might be a stretch to believe that the self-effacing
Ola has always championed audacity when it comes to art.
He has never been afraid of doing things differently—and
this was something he never wearied of reminding his
students. “Believe in yourself, continue to strive hard
in improving your craft and never be afraid to be
daring” might well be his mantra, as well as his
challenge to all artists. |
